20 January 2016
2 Stars
This adaptation restores passages from Wilde’s original manuscript, which were censored from the novel as a result of scandal amongst his contemporaries. Rather than a daring display of unbarred moral putrefaction, however, this production offers a tame and uninspiring taste of Wilde.
Peter Craze has directed this breezy four-hander with an emphasis on florid Victorian diction, which is entertaining for comedic value but prevents the dialogue from growing teeth. Guy Warren-Thomas as Dorian suffers the most from this approach; he remains too buoyant to convey the depths of immorality at the heart of this tale. As a result, the stage becomes a cross-dressing up box of multi-rolling actors who too often play for the laughs.
The most fully realised character is Rupert Mason as Basil Hallward, who delicately confesses his romantic love for Dorian. It is a tasteful undressing of the censored text, and does justice to the character whom Wilde considered himself most alike. Duncan Hands creates haunting vignettes with his gothic lighting design, which marries well with Matt Eaton’s beautiful score. Unfortunately, these elements aren’t enough to sober the pageantry of the production.
This Picture of Dorian Gray struggles to bring new life to Wilde’s masterpiece.
The Picture Of Dorian Gray runs until 13 February at Trafalgar Studios 2
Jessica Wretlind studied English and pursued acting before realising her dream to write and direct theatre. Her career has seen her as a stage manager in the West End, company manager at the Edinburgh Fringe and a critic both in London and at the Fringe. She is now directing an original play that starts its UK tour in April, and wants to continue reviewing theatre to keep her inspired by the diversity of the form.
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